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Full text of "Pennsylvania Museum Bulletin. Number 55, July 1916"

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Kntered August 27. 1903. at Philadelphw, ]>:, , ,] ri„,i, Mairtr, )in.i»r 

Act nf Congriias of July Ifi. 1X1)4. 



PENNSYLVANIA MUSEUM 

AND SCHOOL OF INDUSTRIAL ART 



Boart) of C^rusteee 



The Governor of the State, Ex-Of. 



Mrs. Rudolph Blankenburg 
Charles Bond 
James Butterworth 
John G. Carruth 
Harrington Fitzgerald 
Mrs. Henrv S. Grove 
John Gribbel 
Charles H. Harding 



Thomas Skelton Harrison 
John Story Jenks 
Gustav Ketterer 
John H. McFadden 
John D. McIlhennv 
Mrs. Arthur V. Meigs 
John W. Pepper 
Walter H. Rossm.Kssler 



©fficere 



The Mayor of the City, Ex-Of. 



Theodore C. Search 

Edgar V. Seeler 

Mrs. Joseph P. Sinnott 

Edward T. Stotesbury 

James F. Slt,livan 

Dr. Archibald G. Thomson 

William Wood 



Vice-Presidents 



THEODORE C. SEARCH, President 

JOHN STORY JENKS, 

JOHN G. CARRUTH, 

JAMES BUTTERWORTH, Treasurer 

EDWIN ATLEE BARBER, Secretary 

LESLIE W. MILLER, Principal of the School 



EDWIN ATLEE BARBER, Editor 



Bulletin 

for Julp, THinctecn Munoreb ant) Sixteen 
CONTENTS 

Persian and Other Textiles. By Mrs. Cornelius Stevenson 53 

Recently Acquired Ceramics.' By Edwin A. Barber 36 

Decorated Tinware. By Ed\vin A. Barber 43 

How Old Silver is Ruined 44 

Notes . . 46 

List of Accessions 47 



BULLETIN 

OF 

THE PENNSYLVANIA MUSEUM 



JULY, 1916 



FOURTEENTH YEAR 



Number 55 



PERSIAN AND OTHER TEXTILES 

The Pennsylvania Museum has obtained a small collection of Persian and 
other textiles of the sixteenth, seventeenth and eighteenth centuries that fill 
a hitherto empty place in its Oriental series. Two of them are Mongolian, 




Kashan. 
Seventeenth Century. 

Others show various influences, the larger number, however, perpetuate the 
Persian traditions of an earlier Persian age. Among these are fragments from 
Bokhara, Yezd, Kashan, Ispahan (of the Shah Abbas period, seventeenth 



34 BULLETIN OF THE PENNSYLVANIA MUSEUM 

century). One from Bokhara with gold ground adorned with palm-like design 
of flowers, dating from the seventeenth century, is especially handsome. 
Another has gold palm designs on brick red satin ground. Of the nineteenth 
century, is a dark blue fragment woven with delicate yellow palm design and 
flowers, from Yezd. Especiallj? interesting are two small fragments from 
Kashan (eighteenth century) showing the typical Persian style of animals and 
birds amid pomegranates and other flowers; and some pieces from Ispahan with 
fine floral designs, also of the Shah Abbas period. Nothing in the little col- 



MONGODAN. 

Sixteenth Century. 

lection goes back beyond the sixteenth century, and that is onh^ represented by 
two pieces distinctly Mongolian in character. 

The influences that have brought into existence the ornamental phase of 
what we know as Persian Art are manifold, and there is now a tendency among 
critical specialists to see in the Persian designs, which have been supposed to 
influence Byzantine art, a reaction from an original influence on Persia from the 
West. This view seems to be fairly well supported by the evidence. 

The point of contact between Persian textiles and the development of the 
Byzantine fabrics is well understood and has been generally admitted. Lessing 
held that the latter actually were manufactured in Persia, chiefly in the sixth 



BULLETIN OF THE PENNSYLVANIA MUSEUA/[ 35 

century.' Mr. Alan Cole (Ornament in European Silks, 1899) speaks of a 
Persian sculpture indicated on a dress showing a pattern of circles containing 
dragons similar to those found on some of the silks now preserved.^ He proceeds 
to classify the designs as Sassanian, Egypto-Persian and Byzantine. Migeon' 
begins his series with Sassanian tissues and illustrates some which all must 
agree are in fact Persian, but they are relatively late in date. C. Diehl, in 
his "Manual d'art Byzantin," 1910, follows the same order, as does Antonio 
Venturi in his "Storia dell 'Arte Italiana," Vol. 1901, who remarks, in relation 
to the supposed Persian origin of the hunter type of pattern, that Herodotus had 
recorded that the Persians were taught to ride, shoot and tell the truth. 

Mr. Lethaby has undertaken in the Burlington Magazine of December 
15, 1913, to show that while a great nimiber of fragments exist preserved in 
shrines and collections, a great many also are derived from Coptic graves, 
i. e., the grave of Christian Egyptians, including Alexandrians. He examined 
many pieces in London museimis and made these the basis for a critical study 
of current views regarding the subject. 

Textiles patterned with figures, animals and birds were common in quite 
early Greek art. In the Alexandrian age the designs became ornate and fre- 
quently one motive was repeated all over the material. In early Christian days 
scenes from the gospels were wrought on garments, as is known from the 
protest of Bishop Asterius,-" and early ivories and glasses show elaborate 
garments. 

Nearly all the Byzantine silks have subjects distributed in a series of 
circles, the borders of which may be linked by smaller ones. The larger circles 
contain hunting scenes, men spearing lions. These have been attributed to 
Persian origin. For instance, Diehl says: "The cavaliers s^-mmetrically dis- 
posed . . . the design in circles with palmettes between, all attest a Persian 
model." But the development of the style in which patterns are repeated 
has not, as yet, been worked out. Mr. Lethaby's conclusions are that Alexandria 
first inaugurated the style with Egypto-Byzantine developments, the finest 
style appearing in the sixth century, the earliest style being represented by the 
Coptic fabrics found in graves. This Persia borrowed and distributed over 
the East. Then came the Oriental reaction bearing on the West. Constanti- 
nople became the center of the later style, the great wheel pattern of the tenth 
century, and onward, so characteristic of the later Byzantine art on which 
Saracenic art was to establish its foundation. It would seem as though this 
outline of Mr. Lethaby would explain all the facts, although there is no doubt 
whatsoever that at present the subject is confused and still doubtful. 

Miss Isabella Errara, in her interesting article published in the Burlington 
Magazine of April 15, 1914, undertook a critical resume of the discussion between 
Messrs. von Falke, von Forrer and Lethaby on the above question and con- 
cludes that various influences always have been mixed in the textile industry. 
Especially is this the case in Egypt, where Roman designs were mixed with 

'See Dalton. " Byza tine Art and Archaeology," 1911. p. 584. 

2See Btirlinglon Magazine. December 15, 1913, and January 15, 1914. article on " Byzantine Silks in London 
Museums," by W. R. Lethaby. 

3 " Les Arts des Tissues." 1909. 
■1 Dalton, op. cit.. p. 553. 



36 BULLETIN OF THE PENNSYLVANIA MUSEUM 

Byzantine, Persian and even Chinese. She might well also have added that 
beneath all these remained an understratum of persistent ancient art. She 
says:' "This is the reason why it is almost impossible to say where fabrics come 
from and why it is possible to give only approximate dates except to those 
which bear inscriptions indicating the place and the precise moment of 
manufacture." 

The stuffs called Coptic form a special class, of course, as they are found 
only in tombs of the Nile valley, although information as to the exact tomb 
in which each is found is usually lacking. In Egypt polychrome tapestries 
with stripes and lotus flowers go back to the eighteenth dynasty — say 1500 B. C. 
They have been found with cartouches of King Amenhotep II and some 
have been found in the sarcophagus of Thothmes III. Others are of very fine 
polychrome linen in stripes interspersed with lines of the rose pattern, as may 
be seen in the catalogue by Carter and Newberry. After these textiles, dated 
about 1500 B.C., nothing more is found dated until the Greek Crimean tombs 
of the fifth to third century B.C. These are in the Hermitage. Next come the 
familiar tapestries of Egypt, running in large numbers from the first century 
A. D. to the tenth or eleventh, as well as silk stufi^s. 

This previous history of these polychrome weaves lends strong foundations 
to Mr. Lethaby's contention with regard to the origins of the Persian decorative 
design of textiles; which, whatever their early beginnings, by the time those 
that interest us particularly were woven, had acquired a character and quality 
quite their own. 

S. Y. S. 



RECENTLY ACQUIRED CERAMICS 

Persian Tiles. — A small but important collection of Persian tiles has 
been secured by purchase, with money generously contributed to the Museum 
by the Associate Committee of Women. The group consists of nine examples, 
ranging from the thirteenth to the seventeenth centurj', including a variety 
of styles not previously represented in the Museum collection. The accom- 
panying illustrations will serve to show the forms and embellishments in black 
and white, but convey no idea of the colorings of the glazes and decorations. 

No. 1. Panel measuring 7j x 12^ inches. Decoration in relief, consisting 
of two human-headed animals, covered \'\ ith a uniform turquoise blue glass 
glaze. From Sultanabad, Persia, and attributed to the thirteenth century. 

No. 2. Square tile, dimensions II5 inches. The design, which is in 
relief, consists of a man riding an ox, led by another m.an, while a third follows. 
Above this is a marginal band containing three leopards in relief. The white 
stanniferous enamel which covers the surface is painted with a diapered floral 
background in lustre, showing Saracenic influence. From Rhages, or Rhei, in 
Northwestern Persia, and dates from the thirteenth century. 



BULLETIN OF THE PENNSYLVANIA MUSEUM 



37 



No. 3. Eight-pointed star-shaped tile, dimensions 8 inches. Conven- 
tional decoration in lustre, blue and turquoise on a white stanniferous ground, 
showing Saracenic influence. Around the margin is an inscription. Frorri 
a mosque near Yezd, Persia. Tiles of this character are usually attributed 
to Veramm, but they are also found in other sections of Persia, "it is of the 
thirteenth century. 

No. 4. _ A tile of similar size, shape and decorations, but var\ang some- 
what in design. 

No. 5. Cruciform tile with four equal arms, each one pointed at the 
end. Dimensions 8 inches from point to point. Similar in style of decoration 
to the stellate tiles and used in conjunction with them to cover extensive wall 
spaces. Same period and provenance. 

No. 6. Square tile, dimensions 9 inches. Painted in enamel colors, yellow, 
blue, turquoise, brown and black — flowers on a white ground. From a frieze 




1. Tile with Relief Uesign. 
Sultanabad, Thirteenth Century. 

or large panel found in the ruins of one of the palace buildings erected at 
Ispahan by Shah Abbas in the late sixteenth century. Workmen were brought 
from China and other sections of the East by this ruler who assisted in the 
decoration of the magnificent structures which were erected for the Persian 
court. 

No. 7. Tile of similar size and probably from the same structure. The 
decoration, which formed a small detail of the great mural pictures of the 
walls, represents two rabbits leaping toward a large animal, evidently a deer, 
a portion of which, in green enarhel, may be seen in the lower left-hand comer. 
The rabbits are in bright yellow and white, the groundwork of the design being 
in a rich dark blue. 

No. 8. Tile of the same series, from another part of the wall, representing 
the head of a princess, between two pillars. The face is outlined in black. 
The crown is yellow and blue while the pillars are of the same colors. The 
background is a light yellowish brown. 



38 



BULLETIN OF^THE PENNSYLVANIA MUSEUM 



No. 9. Fragment of a companion to the preceding, similarly painted with 
the head of a prince. 

Pennsylvania Arms Dish. — There has been added to the Museum's col- 
lection of Anglo-American pottery, or bkie china, an important example in the 
shape of a platter twenty-one inches in length, bearing in the center the arms of 
Pennsylvania. This is one of the rarest patterns in a series of designs illustrat- 
ing the coats of arms of the thirteen original states. 

About 1829, or 1830, Thomas Mayer was producing pottery of this char- 
acter at Stoke-on-Trent in the Staffordshire district, England. These arms 




2. Tile with Relief Design. 
Rhages, Thirteenth Century. 



designs are much sought for by collectors, and the Museum possesses several 
of the series. The Pennsyh-ania arms platter is the largest and most important 
of the set. The series, so far as known, consisted of the following: 

Platter, Arms of Pennsylvania, twenty-one inches. 
Platter, Arms of New Jersey, nineteen inches. 
Platter, Arms of Delaware, seventeen inches. 
Platter, Arms of North Carolina, fifteen inches. 
Platter, Arms of Georgia, eleven inches. 
Plate, Arms of New York, ten inches. 



BULLETIN OF THE PENNSYLVANIA MUSEUM 39 




3 4 5. Stellate and Cruciform Tiles. 
From Yezd, Persia. 

Plate, Arms of Rhode Island, nine inches. 
Plate, Arms of South Carolina, seven inches. 
Vegetable dish. Arms of Virginia. 
Wash bowl and pitcher. Arms of Maryland. 

The two remaining original states, Connecticut and New Hampshire, were 
also represented in the series, but these designs are scarce. 

The arms, as shown on the Pennsylvania platter, are a modification of the 




6, 7. Polychrome Tiles. 
From Shah Abbas Palace. Early Seventeenth Century. 



40 



BULLETIN OF THE PENNSYLVANIA MUSEUM 



design used in 1829, the position of the horses, however, being reversed, the one 
in a reclining position being on the right. The eagle above also faces in the 
opposite direction, but at the period when these dishes were made, Stafford- 
shire potters had ^'ery little knowledge of American history and were apt to 
alter designs sent to them to be copied, as the exigencies of decorative effect 
might require. 

Under each of the arms of this series is the name of the state. The border 
pattern is a handsome design of flowers and fruits, while around the margm are 
disposed wheel-shaped ornaments at equidistant points, in the case of platters 
four in number, and in the case of plates, three. 




8, 9. Tile and Fragment, 
From Shah Abbas Palace, Ispahan, Persia. Seventeenth Century. 



The platter which has just been added to the collection is in beautiful 
condition, and the coloring of the printed design is of rich dark blue. 

Sgraffito Bowl. — The old shaving dishes or bowls of the Pennsylvania 
Germans are distinctive but rare. The Musetun possesses three fine examples, 
the latest acquisition being a sgraffito-decorated one with Pennsylvania-German 
inscription and date 1793. In the center are scratched representations of 
shaving tools and soap. Around the margin is the couplet: 



which, translated, reads: 



Wann ich mich thu rasieren 
So thut es der bart spiihren, 

When I shave myself 
My beard feels it. 



BULLETIN OF THE PENNvSYLVANIA MUSEUM 41 



Porcelain Vase — Ormolu Handles. 
By Tucker and Hemphill, Philadelphia, about 1835 



42 



BULLETIN OF THE PENNSYLVANIA MUSEUM 



These barber's basins are of comparatively small size, averaging eight inches 
in diameter, and alw'ays have a semi-circular piece cut out at one side to fit 
the neck of the person to be shaved, to catch the lather when it is applied. 
They closely resemble in form the large porcelain dishes of the Chinese or the 
enormous Mambrino's helmet of Don Quixote. They are somewhat deeper, in 
proportion to their dimensions. 

Tucker Vase. — One of the most noteworthy additions to the American 
collection is a hard paste porcelain vase from the Tucker and Hemphill factory 
of the period of about 1835. This is the chef d'ceuvre of all known examples of 
this celebrated ware. It is the vase which figures as a frontispiece in "The 




Maiolica Jars. 
Peubla, Mexico, 1700-1760. 

Pottery and Porcelain of the LTnited States" and is believed to be the largest 
piece of ornamental ware produced at the Philadelphia establishment. It is 
of classic shape, such as was produced by the best French factories of the period, 
with square plinth and attached ormolu handles in the form of eagles' heads 
with wings meeting abo^fe. The decoration consists of a wreath of flowers 
beautifully painted in natural colors, and bands of salmon color and gold. The 
handles were designed by Friedrich Sachse, who studied under Thorwaldsen, 
the Danish sculptor, and were cast by C. Cornelius &- Son, well-known lamp 
and chandelier manufacturers, which firm was established in Philadelphia by 
Christian Cornelius, sih^er-plater, in the early years of the nineteenth century. 
The vase measures twenty-one inches in height, and apart from its unusual 
size and beautiful workmanship is of special interest as being the only known 
example with metal mounts. 



BULLETIN OF THE PENNSYLVANIA MUSEUM 43 

Mexican Maiolica.— The collection of tin enameled pottery has been 
increased by two unusual jars, eighteen inches in height, painted in blue enamel 
in Chinese style, with irregular medalhons containing flowers, surrounded by 
dark blue ground with ornaments reserved in white. They were made in Puebla, 
Mexico, between 1700 and 1760 and are distinguished' additions to the col- 
lection, which has been further enriched by a plate fifteen and a half inches 
in diameter with conventional floral pattern in colors combined with dark 
blue, representing the period of about 1800 when the monochrome blue painting 
was superseded bv polychrome decoration. 

E. A. B. 



DECORATED TINWARE 

In certain parts of Europe, notably in France, Russia and England, a 
peculiar kind of metal-work was produced in the eighteenth century, known as 
Tole (the French word for sheet-iron). An instructive article on this subject, 
by Elizabeth Lounsbery, was published in American Homes and Gardens in 
July, 1914. This ware is an alloy of iron with a certain percentage of lead, 
zinc or tin, at first beaten out by hand, but later rolled by machinery into thin 
sheets. The surface is japanned in various colors — red, black, yellow or green 
— on which are painted or stenciled the decorations in colors or gilding. Some 
of these earlier productions have been beautifully painted by skilled artists. 

An imitation of this tole work was attempted by some of the American 
tinsmiths in the first half of the nineteenth century, but instead of using the 
thicker tole they employed the ordinary sheet tin or tinned iron, japanned with 
ground color and painted with bold designs in bright colors. >Such ware was 
made through the third quarter of the century in Philadelphia and in some of 
the neighboring counties, and was exceedingly popular with the country people, 
particularly the Pennsylvania Germans. Many of the local tinsmiths produced 
it for their customers, at a time when tinware began to take the place of the 
decorated pottery which had for a century or more been used almost exclusively 
for household purposes. The small local potworks were gradually closed and 
the art of slip decoration about the middle of the nineteenth century became 
practically extinct. 

In the Museum collection of historical antiquities are numerous examples 
of painted tinware. The forms of the pieces, such as tea-pots, mugs, tea-canis- 
ters, fruit-dishes, snuffer-trays and waiters, are quaint, often graceful in outline, 
and the colorings are brilliant and frequently gaudy. The ground was usually a 
bright red, black, yellow, bronze or dark green, while the designs consisted 
principally of flowers, birds or fruits boldly painted in various colors. 

Tinware was also decorated, at a somewhat earlier period, by etching the 
designs on, or pricking them in, the surface. These two processes were totally 
different and probably show the work of separate localities, or at least the varied 
methods used by different workmen. In the first process the pattern appears 
to have been outlined bv metal wheels with serrated edges, the figures after- 



44 BULLETIN OF THE PENNSYLVANIA MUSEUM 

wards being filled in by hand with short strokes of a graver. These serrations 
and lines were cut through the thin film of tin which covered the sheet iron 
beneath. By this treatment the ornamentation appeared darker in tint than 
the bright tin of the surrounding ground, producing a pleasing effect without 
the use of applied coloring. A coffee-pot in the museum collection is embellished 
in this manner with tulips, birds and waving bands of etched work (see illustra- 
tion). By the other process the design was pricked into the surface, showing 
the same technique as that of the pin-pricked paper pictures of the period, by 
employing a sharp metal point, prepared stencils being used as a guide for the 





Tin Coffee Pot. Etched Decoration. 
Early Nineteenth Century. 

work. A coffee-pot owned by the Rev. John Baer Stoudt of Northampton, Pa., 
is of this character, the design being composed of a vase of flowers and bands 
of ornament. Some idea of the date of such pieces may be obtained by the 
fact that this example was a bridal gift for the grandmother of the present 
owner, who was married in 1844. E p^ B 



HOW OLD SILVER IS RUINED 

This Museum has gradually built up an interesting and valuable collection 
of old American silver, among which are many examples which have been 
presented by our patrons and friends. Philadelphia was an important center 



BULLETIN OF THE PENNSYLVANIA MUSEUM 45 

for the manufacture of artistic silver during the eighteenth century and the 
early years of the nineteenth and much of this hand-wrought ware is owned by 
Philadelphia families. In the course of time, some of this early silver will find 
its way into the Museum either by gift or bequest, as has been the case in the 
past, and for the information of would-be donors the following opportune 
letter, contributed by a well-known collector and expert to the Boston Tran- 
script, is printed in full: 

"The ruination by the modern jeweler of so much of the beautiful early 
silver made by the Colonial craftsmen in the seventeenth and eighteenth 
centuries is simply vandalism. For more than ten years I have devoted my time 
and attention to the subject, trying to identify the makers' names from the 
marks which appear on the vessels, and which is so important from the his- 
torical point of view. I have been privileged to examine not only the church 
silver, but a very large number of domestic pieces in private hands which are 
priceless relics of the past. The beautiful blue color which alone comes from 
age and hand cleaning is being ruthlessly destroyed by the modern jeweler, 
whose one ambition is to make the vessels look like tin! The 'buffing' process 
removes the surface, and the makers' marks, of such great value to the investi- 
gator, are so rubbed off as to be indistinguishable. The commercial value is 
destroyed by at least one-half, and the sentimental value also suffers when the 
initials of the original owners are obliterated. 

"Such a flagrant case perpetrated by these malefactors — for such they are 
— has recently come to my attention that I must make special mention of it. 
One of the choicest lots of old family silver which I have ever seen I examined 
a few years ago in its original condition. This most unfortunately was left 
in a jeweler's hands to clean. The result is most disheartening, and it would 
never be recognized as the same lot. It is the perfection of ' shine,' in which the 
jeweler revels, but alas! the makers' marks of the seventeenth century are all 
but obliterated. Will the modern jeweler ever learn what art is? 

"If the jewelers ever hold a convention in Boston, it is to be hoped that 
they will go en masse to the Museum of Fine Arts and see the beautiful old 
silver which has been gathered there. A special case containing the pieces upon 
which they have wrought their havoc should be especially prepared for them to 
gaze upon also. 

"To send your family portraits to a house painter for restoration would 
be no greater outrage than to send old silver to the modem jeweler without 
instructions not to 'buff' it. If silver is badly tarnished, one or two applica- 
tions of a harsher metal polish used for brass and copper will, with a little 
patience, remove the worst of the tarnish, when silver polish should be used. 
Camphor placed with sih'er when packed will prevent tarnish. 

"Francis Hill Bigelow." 

June 2, 1916. 

The above statements bv Mr. Bigelow are not exaggerated. Owners of 
fine old silver who decide to place their treasures where they will be permanently 
preserved for the benefit of posterity are actuated by the laudable desire to have 
it cleaned and put in proper condition for exhibition. It is sent to the jeweler 



46 BULLETIN OF THE PENNSYLVANIA MUSEUM 

to be treated and when it reaches the museum it has lost all of its antique char- 
acter and appears as highly polished modem ware. The principal value of 
old silver is the natural patination which is only produced by many years of use 
and handling. To destroy this evidence of age robs the silver of half its value. 
Hand-beaten metal, whether it happens to be silver, copper or pewter, should 
never be subjected to the process of "buffing," whereby its texture is destroyed 
and its surface crushed. We can recall one instance where a valuable collection 
of eighteenth century pewter was irreparably ruined for exhibition purposes by 
having the surface highly polished, thereby destro3dng the beautiful satiny 
finish of the metal and imparting the appearance of cheap new tin. 

The Museum needs the cooperation of its friends in enlarging its collection 
of early silver, and we trust that the suggestions here offered will be brought to 
the attention of those who ma}' contemplate a gift or bequest to the Musermi 
in the future. It requires a century or more to impart the soft velvety surface, 
the principal charm of old silver, which may be entirely destroyed by five 
minutes of misdirected effort on the part of the modern silversmith. 



NOTES 

Special Exhibition. — A loan exhibition of old English and American 
furniture will be held in the Museum in the autumn, when many rare and 
interesting pieces will be shown. 

* * * 

Exhibition of Fakes. — The exhibition of Fakes and Reproductions, 
which was opened in April, will be continued until October. This first exhibi- 
tion of the kind in this country has attracted widespread attention and brought 
to the Museum visitors from many sections, from New York, Baltimore, 
Boston, Hartford, Mihvaiikee, Chicago, Minneapolis and many other places. 
Collectors and students ha^'e taken ad\'antage of this opportunity to learn 
how to distinguish genuine antiques from their fraudulent counterparts, and 
numerous applications have been received for expert guidance through the 

collection. 

* * * 

New Screens. — The large screens in the Rotunda, which have been pre- 
sented to the Museum by Mrs. Edward T. Stotesbury, will be used for the 
special exhibitions which are planned for the coming fall and winter. 

* * H: 

Loan Collection. — The collection of Oriental porcelains, lacquers and 
carved ivories, lent by Mr. John H. McFadden, is now installed and will remain 
on view during the summer. The collection also includes two fine seventeenth 
century tapestries, an Aubusson, and a Brussels signed by Leefdael. 



BULLETIN OF THE PENNSYLVANIA MUSEUM 



47 



SCHOOL NOTES 

The school year closed on May 25th, the Commencement Exercises being 
held at the Broad Street Theater on the evening of that day. The Commence- 
ment Address was delivered by Ralph Adams Cram, Litt.D., LL.D., of Boston, 
his subject being "The Dawn of a New Day for Art." Following the exercises 
the usual private view of the exhibition of students' work was held at the school 
building. 

A class of forty-nine, twenty-eight in the Art School and twenty-one in 
the Textile School, completed full courses and received the diploma this year. 

Official recognition of the dignity and thoroughness of the work of the 
school is shown by the action of the examining board which determines the 
qualifications of teachers '"or the Board of Public Education of Philadelphia, 
which now recognizes, in the appointment of teachers, the diploma of this 
institution as the equivalent of a college degree. This action is significant as 
one of the first evidences of the increased recognition of art as a factor in 
modem education, which is extremely gratifying to those who have been active 
in the advocacy of this principle for so many years. The next step, of course, 
should be, and probably will be, the granting of the power to confer degrees 
upon this institution. Such recognition as has already been accorded, however, 
shows that art is coming into its own, and is at last receiving the honor which 
it has always deserved, but which has long been denied, as the directing force 
in the great movement for creative, or vocational, effort in popular instruction. 

The school year just closed has been marked by more than usual activity 
in the matter of exhibitions of school work. In addition to the traveling exhi- 
bitions, the circulation of which is maintained by the Alumni Association, 
special exhibitions of much importance have been held at Springfield, Mass., 
in connection with the Annual Convention of the Eastern Arts Association in 
April; at Washington, in connection with the Annual Meeting of the American 
Federation of Arts, in May; and at the " Philadelphia To-Day and To-Morrow 
Civic Exposition," May 15th to June ICth. The exhibitions have attracted 
very favorable notice and have done much to extend the reputation and 
prestige of the school. 



ACCESSIONS 
April — June, 1916 



CLASS 



Books 

Carvings 
Ceramics 



OBJECT 



HOW ACQUIRED 



2 Parchment Books. Persian. I i.'teenth and Si.xteenth 

Centuries : Given by Mr. C. Filippo. 

5 Steatite Figure Groups, Chmese ! Given by Mrs. Edward T. Davis. 



2 Bowls. Gombroon Ware. Persian, Eighteenth Cen- 
tury 

Pottery Salt Shal.er. Liverpool. England. 1809 

2 Hard Paste Porcelain Bottles, in t-orm of N^an and 
Woman. Paris, France, c. 1840 

Hard Paste Porcelain Cup and Saucer, taris, France, 
c. 1830 

Porcelain Saucer. Made by Josiah Spode. Stoke-on- 
Trent, England, c. 1820 

Pottery Plate. Design of the Great Seal of the State 
of North Carolina. Modern 



\ Lent by Dr. Edwin A. Barber. 

\ Given by Mrs- Hampton L. Carson. 
] 

Given by Mr. Sussex D. Davis. 

Given by Miss Cordelia W. Fhifer. 



48 



BULLETIN OF THE PENNSYLVANIA MUSEUM 



ACCBSSIO'NS— Continued 



CLASS 



OBjECT 



HOW ACQUIRED 



Ceramics Hard Paste Porcelain Fruit Dish, Plate. Cup and 
Saucer, Made by Tucker and Hemphill, Phila- 
delphia, c. 1835 

Porcelain Plate, Painted Decoration, Russian 

Maiolica Tazza, Italy, Eighteenth Century 

! Large Hard Paste Porcelain Vase with Ormolu 
Handles. Made by Tucker & Hemphill, Philadel- 
phia, c. 1835 

Large Pottery Platter, "Arms of Pennsylvania" De- 
sign. Made by Thomas Mayer. Stoke-on-Trent, 
England, c. 1830 

Pair of Large Maiolica Vases. Showing Chinese Influ- 
ence in the Decoration, Puebla, Mexico, c. 1760. . . 

Maiolica Plate, Polychrome Decoration. Puebla, 
Mexico, c. 1800 

4 Pottery Tiles, Saracenic, Persian, Thirteenth Cen- 
tury 

4 Pottery Tiles, Ispahan, Persian, Sixteenth Century 

Pottery Shaving Basin, Inscription and Date 1793, 
Pennsylvania-German 

Hard Paste Porcelain Cup and Saucer and Bowl, 
Made by Tucker and Hemphill, Philadelphia, c. 
1835 

Queensware Dairy Dish and Spoon. Made by Josiah 
Wedgw^ood, England, c. 1780 

Furniture and Teakwood Pagoda, Inlaid with Mother-of-Pearl, 

Woodwork Chinese 

Arm Chair, French, Period of Louis XV 



/ Given by Mrs. George Wood. 
Lent by Mrs. Robert Wurts. 



By Purchase. 



Glass 



Goldsmith's 

and 
Silversmith's 

Work 



Lace 
Lacquers 

Metalwork 



Musical 

Instruments 



Textiles 



Miscellaneous 



21 Pieces of Glassware, American and English 

Glass Salt Cellar and Cup Plate. Sandwich, Mass.. 

c. 1840 

Double Glass Bottle and 2 Wine Glasses, Scotch. 

Nineteenth Century 



Pair of Gold Ear-rings, Etruscan 

2 Silver Teaspoons. U. S., Early Nineteenth Century 
Silver Soup Ladle, Made by Lincoln & Reed, Boston. 

Mass.. 1848 

Silver Fork. Made by N. Harding. Boston, Mass., 

1822 

Hand Mirror. Silver, Ornamented with Seed Pearls, 

Red and Green Stones, and Blue Enamel. Austrian 
Shell Cameo Brooch, Italian, Mid-Nineteenth Century 

Gold Chatelaine and Watch, French 

Silver Pendant and Silver Chatelaine 



16 Pieces of Old Lace, Spanish, Italian, Flemish, etc. 
Red Cinnabar Lacquer Cabinet, Japanese 



Iron Fire Insurance Plate, Old American 

Iron Implement for Spearing Eels 

Knife and 8 Forks, Steel with Ivory Handles, Eng- 
lish, c. 1830 

Bronze Group. Japanese, Nineteenth Century 

Xylophone (Mokkine) Japanese 



Piece of Old Printed Chintz 

5 Bags and Purses 

8 Oriental Rugs. Early Eighteenth Century 

Collections of gowns, hats, slippers, etc.. Early Nine- 
teenth Century 



2 Pieces of Old Brocade 

Child's Bonnet, Pink Satin, Old 

25 Fragments of Textiles, Persian, 

Nineteenth Centuries 

5 Dolls 



Seventeenth- 



7 Glazed Pottery Chessmen, Egyptian, 1300 B. C. . . . 

Board and 32 Chessmen for the Use of the Blind 

2 Slate Chess Boards 

4 Fans. Ivory and Paper 

2 Folios of Paintings on Rice Paper, Chinese 

Band-Box, Covered with Wall-paper, U. S., Early 
Nineteenth Century 



Given by Mrs. Edward T. Davis. 
By Purchase. 

Lent by Dr. Edwin A. Barber. 

Given by Miss Elizabeth C. Roberts. 

Lent by Mr. Roland Story. 

Given by Mrs. George Boker. 
Given by Mrs. Hampton L. Carson. 

> Given by Mr. Samuel B. Dean. 

Lent by Mrs. John Harrison. 

Given by Miss Elizabeth C. Roberts. 

Lent by Mrs. Harry Clay Potter. 
Given by Miss Elizabeth C. Roberts. 

> Given by Mrs. William D. Frishmuth. 

Given by Dr. Jacobina S. Reddie. 
Given by Miss Elizabeth C. Roberts. 

Given by Mrs. William D. Frishmuth. 

Given by Mrs. Hampton L. Carson. 
Lent by Mrs. Hampton L. Carson. 
Lent by Mr. J. Mitchell Elliot. 

Lent bv Miss Christiana Penn-Gaskell 

Hali: 
Given by Mrs. John Harrison. 
Given by Mrs. Sidney Mason. 

Given by Mr. C. Filippo. 
Lent by Miss Mary E. Sinnott. 



Lent by Mr. James F. Magee, Jr. 

Lent by Mrs. Harry Clay Potter. 
Given by Miss Elizabeth C. Roberts. 

By Purchase. 



PENNSYLVANIA MUSEUM 

AND SCHOOL OF INDUSTRIAL ART 



MUSEUM COMMITTEE 



John Story Jenks, Chairman 
Thomas Skelton Harrison 
John H. WcFadden 
John D. McIlhenny 
John W. Pepper 
Edgar V. Seeler 

Mrs. Rudolph Blankenburg, Ex-Officio 



Mrs. W. T. Carter 
Mrs. W. D. Frishmuth 
Mrs. John Harrison 
Miss Fannie S. Magee 
Mrs. Edward T. Stotesburv 



Edwin AtLee Barber, Director of the Museum 
Mrs. Cornelius Stevenson, Assistant Curator and Lecturer 

HONORAKT CURATORS 

TextUes, Lace and Embroidery Mrs. John Harrison 

Oriental Pottery Mrs. Jones Wister 

European Porcelain Rev. Alfred Duane Pell 

Arms and Armor Cornelius Stevenson 

Furniture and Woodwork Gustav Ketterer 

Musical Instruments Mrs. W. D. Frishmuth 

Numismatics F. D. Langenheim 

Sculpture, Marbles and Casts. Alexander Stirling Calder 



INSTRUCTION COMMITTEE 



Theodore C. Search, Chairman 
Charles Bond 
Mrs. John Harrison 
Thomas Skelton Harrison 
John Story Jenks 
John D. McIlhenny 
Edgar V. Seeler 
James F. Sullivan 
William Wood 

Mrs. Rudolph Blankenburg, Ex-Officio 



Mrs. F. K. Hipplb 
Miss Nina Lea 
Mrs. Arthur V. Meigs 
Mrs. Thomas Roberts 
Mrs. Joseph F. Sinnott 
Mrs. C. Shillajrd Smith 
Mrs. John Wister 
Mrs. Jones Wister 



associate COMMITTEE OF WOMEN TO THE BOARD OF TRUSTEES 

President 

Mrs. Rudolph Blankenburg 

First Vice-President Second Vice-President 

Miss Nina Lea Countess Santa Eul.\lia 

Secretary Treasurer 

Mrs. Henhy S. Grove Mrs. Joseph F. Sinnott 



Mrs. Edwin Swift Balch Mrs. 

Mrs. Jasper Yeates Brinton Mrs. 

Mrs. John H. Brinton Miss 

Mrs. William T. Carter Mrs. 

Miss Margaret Clyde Mrs. 

Mrs. Henry Brinton Coxe Mrs. 

Miss Ada M. Crozer Mrs. 

Mrs. David E. Dallam Mrs. 

Miss Cornelia L. Ewing Mrs. 
Mrs. George Harrison Frazier Mrs. 

Mrs. W. D. Frishmuth Mrs. 

Mrs. W. W. Gibbs Mrs. 



John Harrison Mrs. 

C. Leland Harrison Mrs. 
M. S. Hinchman Mrs. 

F. K. Hipple Miss 

Harold W. How Mrs. 

J. L. Ketterlinus Mrs. 
George G. M. Large Mrs. 
Robert R. Logan Mrs. 
Howard Longstreth Mrs. 
Arthur V. Meigs Mrs. 
James Mifflin Mrs. 

Francis F. Milne 



Thornton Oakley 
Percival Roberts, Jr. 
Thomas Roberts 
Mary E. Sinnott 
C. Shillard Smith 
Cornelius Stevenson 
Edward T. Stoiesbury 
William H. Walbaum 
A. B. Weimer 
John Wister 
Jones Wistkb 



honorary members 

Mrs. M. Hampton Todd Miss Fannie S. Magee